Cefalù Cathedral
context 2

Characteristics of religious architecture in the romanesque period

For the organisation of space in religious architecture, the year 1000 marked a period of revision of the solutions already initiated in the Carolingian era. The need for a renewed use of the liturgy took on not only symbolic but also rational importance, so much so as to modify the design of the sacred area. The increase in the number of clergy, who came to form a social group distinct from the community of the faithful, made it necessary to enlarge and raise the presbytery .This change gave the apse greater depth, reserving additional space for the creation of the choir which was placed in the nave in front of the altar.The reformulation of spaces, together with the introduction of secondary apses, emphasised the importance of the officiating religious over the faithful, who now attended the celebrations separated by fences (plutei in the Roman rite and iconòstasis in the Greek rite) which enclosed the presbytery. The overall impression of the building continues to reflect that of a vibrant arrangement of spaces, in which the dynamism of the projecting structural elements interacts with the recesses which mark the openings, such as windows and portals. In some religious buildings, characterised by thick walls, the is used to compensate for the greater height of the central nave compared to the side aisles. Almost as if to contrast with the elevated position of this gallery, the Romanesque church below its longitudinal plan, often with a transept , conceals crypts beneath the  presbytery, according to a tradition derived from the Carolingian and Ottonian periods.

Roger II’s strategic design

The Cefalù cathedral: a construction yard undergoing a change between a surge of faith and control over the territory

A space between the visible and the invisible

The Great Restoration

The construction of Monreale Cathedral: between myth and history

Beyond the harmony of proportions

The marble portal: an intimate dialogue between complex ornamental aspects and formal structure

Biblical themes enlivened by the dazzling light of the stained – glass windows overlooking the naves

A remarkable ceiling

The decorated facade

Transformations over the centuries

The dialogue between the architectures of the monumental complex

A compositional design that combines nordic examples with new artistic languages, over the centuries

The longest aisle

The towers facing the facade used as bell towers

Cefalù: settlement evidence through time

Gardens and architecture as a backdrop to the city of Palermo

The chapel of the crucifix: an artistic casket based on a previous model

A Northern population

Characteristics of religious architecture in the romanesque period

The columns of the nave: the meticulous study of the overall order

Tempus fugit: a strategic project implemented in a short period of time

The chapel of san Castrense: an important renaissance work

Porphyry sarcophagi: royalty and power

A tree full of life

The Cathedral over the centuries

A new Cathedral

The Great Presbytery: a unique space for the cathedral

The paradisiacal “Conca d’oro” that embraces Palermo: a name with countless faces through time

The chystro: a place between earth and sky

From the Mosque to the Cathedral

The links between the hauteville family and the monastic orders in Sicily

The original design

Palermo: the happiest city

A cloister of accentuated stylistic variety

The southern portico

The Virgin Hodegetria

The mosaics of the presbytery

The beginning of the construction site

Norman religious architecture with islamic influences in Sicily

The architectural modifications ti the cathedral building after the death of Roger II and the transformations of the cloister

The rediscovered chapel

The Kings’ Cathedrals

The chapel of St. Benedict

The area of the Sanctuary

Mosaic decoration

The Gualtiero Cathedral

From the main gate to the aisles: an invitation to a journey of faith

Two initially similar towers, varied over time

The king’s mark

Interior decorations

The cemetery of kings

A palimpsest of history

Survey of the royal tombs

The Bible carved in stone

Under the crosses of the Bema

A chapel by an unknown designer based on repeated symmetries

The mosaics of the apses

Thirteenth-century iconography decorates the nave’s wooden ceiling, designed with new solutions

The cultural substrate through time

The plasticism of the main portico and Bonanno Pisano’s Monumental Bronze Door

A controversial interpretation

Squaring the circle

The Chapel of St. Mary Magdalene

The senses tell Context 1

Artistic elements in Peter’s ship

The chorus: beating heart of the cathedral

The medieval city amidst monasticism and feudal aristocracy

Ecclesia munita

The towers and the western facade

A mixture of styles pervades the floor decorations

The liturgical spaces of the protesis and the diaconicon

A polysemy of high-level artistic forms and content

The side aisles

Roger II of hauteville: a sovereign protected by God

The side Portico: a combination of elegance and lightness of form

The lost chapel

The Chapel of the Kings

Worship services

The transformations of the hall through the centuries

The balance between architecture and light

Layers of different cultures decorate the external apses

The stone bible